0 a piece of music with no fixed form, or one consisting of tunes that many people know or recognize
Among her important works are dramatic, concert, and festival overtures, and a fantasia for piano and orchestra, all given at various English festivals.
Not only is this influence evident in his symphonic poems—some of his best work—but it is to be found in his suites for orchestra, his fantasias, and his rhapsodies, where the descriptive and narrative element is strong.
Of the operatic fantasias there are perhaps a hundred or more.
The second part of the fantasia is occupied by a succession of recitatives of an extremely graphic and poetic character.
There was not a song in all her collection that did not bring the anguish of some recollection of him, so she only played brilliant new, soulless fantasias, that were as empty as her heart.
This is the explanation for the relative neglect of the free fantasia.
Other crucial passages in the chapter on fantasia include a passage on circuitous modulations; this category forms my main concern in what follows.
She is currently working on a study of the early nineteenth-century piano fantasia.
